Camera Gear Review News

Image quality, vignetting, and distortion test results have been added to the Sigma 24-70mm f/2.8 DG DN Art Lens page.
 
This is a top-selling lens. Our review of the Sigma 24-70mm f/2.8 DG DN Art Lens was interrupted by the new Canon gear arrival, but the test results are very helpful in telling this lens's story.
 
Sigma 24-70mm f/2.8 DG DN Art Lens vs. Sony FE 24-70mm f/2.8 GM Lens
 
Sigma 24-70mm f/2.8 DG DN Art Lens vs. Tamron 28-75mm f/2.8 Di III RXD Lens
 
Sigma 24-70mm f/2.8 DG DN Art Lens vs. Sigma 24-70mm f/2.8 DG OS HSM Art Lens
 
The Sigma 24-70mm f/2.8 DG DN Art Lens is in stock at B&H | Adorama | Amazon USA | WEX
 
Rent the Sigma 24-70mm f/2.8 DG DN Art Lens from Lensrentals.
 
Please share!

The Canon EOS R5 Review and Canon EOS R6 Review are works in progress with the latest updates being the AF section and the addition of frame rate examples. Scroll down one of the two reviews (same frame rate, same AF technology, same content in each) until a horseback riding image shows in the performance section.
 
These cameras are very impressive performers. The sample image included in this post shows the eye-tracking AF point following the galloping horse rider near the edge of the frame during a 20 fps capture.

Resolution test results have been added to the Canon EOS R5 Review page.
 
Resolution test results have been added to the Canon EOS R6 Review page.
 
These cameras are very sharp — I think you will like these results.
 
The R5 and R6 results were processed using Canon Digital Photo Professional (DPP) and the same low contrast, low sharpness settings (Neutral Picture Style, Sharpness = 1) as all of the other Canon camera test results included in the comparison tool. Use these results to compare the camera's resolution and sharpness to any other camera tested with the same lens using the same aperture setting (use f/5.6). I'll get your comparisons started:
 
Canon EOS R5 vs. Canon EOS 5Ds R
 
Canon EOS R5 vs. Canon EOS 5Ds
 
Canon EOS R5 vs. Canon EOS 5D Mark IV
 
Canon EOS R5 vs. Canon EOS R
 
Canon EOS R5 vs. Canon EOS R6
 
Canon EOS R6 vs. Canon EOS R
 
Canon EOS R6 vs. Canon EOS-1D X Mark III
 
Canon EOS R6 vs. Canon EOS 5D Mark IV
 
 
Time to order your Canon EOS R5:
 
Body: B&H | Adorama | Amazon USA | WEX
 
w/ RF 24-105 L: B&H | Adorama | Amazon USA
 
 
Time to order your Canon EOS R6:
 
Body: B&H | Adorama | Amazon USA | WEX
 
w/ RF 24-105 STM: B&H | Adorama | Amazon USA | WEX
 
w/ RF 24-105 L: B&H | Adorama | Amazon USA
 

Good news is that B&H is now indicating that the Canon RF 100-500mm F4.5-7.1 L IS USM Lens will arrive Aug 28th. This lens was formerly expected in September.
 
Order the Canon RF 100-500mm F4.5-7.1 L IS USM Lens at: B&H | Adorama | Amazon USA | WEX

As with the Canon RF 800mm F11 IS STM Lens, several of you have been asking for a glimpse of the image quality that the new Canon RF 600mm F11 IS STM Lens is capable of. I spent half of yesterday chasing birds with these two lenses. The 600mm spent its time on the Canon EOS R6, so this image was captured with the higher-resolution Canon EOS R5 upon return from the trip.
 
This coneflower image is a 100% crop from near the center of the frame. This tripod-captured image's settings were 1/100 sec., ISO 100, and you know the aperture. The RAW image was processed with sharpness set to "2" (0-10 scale).
 
As with the 800mm crop just shared, this result exceeds my expectation. Add slightly more sharpening (try it yourself — copy and paste this image into your image processing software) and the result is especially sharp.
 
The Canon RF 600mm F11 IS STM Lens is in stock at B&H and Amazon USA.

Canon Europe has the Canon EOS R5 owner's manual available to download.

Can Canon RF Extenders be used on the RF 70-200mm F2.8 L IS USM Lens, even at 200mm?
 
Sorry folks, that answer is "No."
 
With some of Canon's EF lenses specified as not EF extender compatible, such as the Canon EF 70-300mm f/4-5.6L, the rear element moved far enough forward to provide clearance for the extender to fit, and these combinations worked fine (as long as the impact was avoided). The Canon RF 100-500mm F4.5-7.1 L IS USM Lens came with the minimum RF extender compatible focal length specified (300mm), showing Canon now taking advantage of the partial range of rear element clearance.
 
All of Canon's EF 70-200mm lenses are compatible with EF extenders, but the RF 70-200 was not on the RF extender compatibility list. The question on many of our minds was if the RF 70-200mm lens would indeed be compatible, at least at the long end, despite being omitted from the list.
 
I've tried twice (just to be absolutely sure) to mount an RF extender to the RF 70-200 at 200mm, the focal length with the most rear element clearance. The RF extender does not fit into the back of this lens.
 
Another great idea was to mount an RF extender to the back of a Canon Mount Adapter EF-EOS R. The idea is that all EF lenses suddenly become extender compatible. Sorry, but this answer is also "No." The RF extender does not fit into the mount adapter.
 
That said, the baffle physically preventing this installation appears to be plastic, and plastic is easily modifiable. I can't spare an adapter for this mod right now, but if you have a donor adapter you want me to try modifying, let me know.

Thanks to Canon USA, the rest of the end-of-July-arriving new gear is in-house, including:
 
Canon RF 600mm F11 IS STM Lens
Canon RF 800mm F11 IS STM Lens
Canon RF 1.4x Extender
Canon RF 2x Extender
Battery Grip BG-R10
 
My first impression is that these super-telephoto lenses are amazingly compact and light.
 
Again, please feel free to ask questions — I can't promise to get to every one, but will attempt to answer many.
 
Also again, this photo was created using the Canon EOS R and RF 70-200mm F2.8 L IS USM Lens combination.

As you've likely read, I've been using the Canon EOS 5Ds R as my primary camera since it first became available. While I still love the image quality this camera produces, the 5Ds R is beginning to feel aged. In particular, I wanted to know how the dynamic range of the new Canon EOS R5 compared to that of the 5Ds R. Some additional testing, over and under-exposure captures from the 5Ds R, makes that comparison now available in the site's camera noise comparison tool:
 
Canon EOS R5 Dynamic Range Comparison with 5Ds R
 
In that 2-stop-overexposed comparison, the R5's dynamic range is clearly superior (keep in mind that the brightest color value is below RGB 255,255,255 in the base exposure).
 
As expected, the +3 EV comparison more clearly shows the R5's improved performance.
 
Learn more about the Canon EOS R5.

When photographing fast action while counting on the camera's frame rate to capture the perfect point in time, the buffer depth must be adequate to cover the period during which the potential best image could happen. Therefore, buffer capacity matters.
 
To obtain the best-available buffer capabilities, the EOS R5 and R6 were configured to manual mode (no AE time lag) using ISO 100, a 1/8000 shutter speed (no waiting for the shutter operation), a wide open aperture (no time lost due to aperture blades closing), and manual focus (no focus lock delay). The lens cap remained on (insuring a black image with the smallest file size), the battery was near full charge, and freshly-formatted fast memory cards were used.
 
The ProGrade Digital 325GB CFexpress 2.0 Cobalt Memory Card and a ProGrade Digital 64GB 200 MB/s UHS-II V60 Memory Cards were used for this testing.
 
Here are the results for the R5:

Test	Image Count	Seconds
12 fps RAW > CFexpress	405	33.8
12 fps RAW > SD	182	15.0
12 fps RAW + RAW	175	14.6
20 fps RAW > CFexpress	146	7.3
20 fps RAW > SD	110	5.5
20 fps RAW + RAW	104	5.2

Even at 20 fps, the R5 can capture an impressive over 7 seconds of action when using the CFexpress card, and the 5.5 seconds of 20 fps capture with an SD card is still very good. The penalty for recording to two cards simultaneously is minor at 20 fps, but more significant when capturing at 12 fps. That said, the need to record at 12 fps for longer than the 9 seconds provided by the SD card is reaching a niche level.
 
Here are the results for the R6:

Test	Image Count	Seconds
12 fps RAW + RAW	>1,900	>158
20 fps RAW	180	9.0
20 fps RAW + RAW	165	8.3

Yes, ADHD kicked in after capturing a crazy-high 1,900 images in the 12 fps R6 test. The camera would likely continue at that frame rate until the cards were filled, achieving a number of images adequate for everyone. Even at 20 fps, the R6 can capture 9 seconds of action when using this SD card. The penalty for recording to two cards simultaneously at 20 fps is minor.
 
The numbers in the table above are excellent, adequate for most professional purposes. Switch to CRAW, JPG, or HEIF image formats, and the numbers go far higher (if possible).
 
Speed matters when selecting a memory card, and a memory card upgrade can be a low cost method of improving camera performance. These buffer capacities should be considered best-possible for the referenced cards, and your in-the-field results will likely vary.
 
The R5 and R6 clear the buffer quickly, and memory cards format almost instantly, both important aspects for camera selection.

Comparing same-size imaging sensors, the lower the resolution, the larger the photosites. Larger pixel wells can collect photons at a higher rate than smaller ones, generating a higher SNR (Signal to Noise Ratio) that results in lower noise levels. Therefore, do not expect pixel-level noise performance from an ultra-high-resolution imaging sensor to match that from a similar generation low-resolution imaging sensor.
 
That said, the final output size is what matters in the real world. To make the Canon EOS R5 vs. Canon EOS R6 comparison relevant, the R5 image (oversampled in this case) must be reduced to 20 MP. An R5 image can be very simply downsized to R6 image dimensions, and then the R5 noise levels appear at least as good the R6 noise levels. DPP was used for downsizing the R5 images in that example.
 
In this comparison, Photoshop's Image Size method (using the default auto setting) was used for resizing. In this case, the R5 results are sharper than the R6 results, with noise becoming very slightly more apparent from the sharpening.
 
Noise levels do not appear to be a good differentiator between these cameras — noise levels at high ISO setting are not a good reason to buy the R6 over the R5.

Noise test results have been added to the Canon EOS R5 Review page.
 
Noise test results have been added to the Canon EOS R6 Review page.
 
Create the comparisons relevant to you.
 
These reviews are a work in progress, being updated as I go. Commentary regarding noise performance is now included.
 
 
Time to order your Canon EOS R5:
 
Body: B&H | Adorama | Amazon USA | WEX
 
w/ RF 24-105 L: B&H | Adorama | Amazon USA
 
 
Time to order your Canon EOS R6:
 
Body: B&H | Adorama | Amazon USA | WEX
 
w/ RF 24-105 STM: B&H | Adorama | Amazon USA | WEX
 
w/ RF 24-105 L: B&H | Adorama | Amazon USA
 

Along with ordering the new Canon EOS R5 and EOS R6, many photographers ordered compatibilty for their existing EF, EF-S, and TS-E lens kits in the form of one of the Canon Mount Adapter EF-EOS R variants. The order volume for the basic and control ring versions of this adapter were so high that they are out of stock nearly everywhere, with B&H indicating 4-6 weeks for availability (7-14 days for the control ring version).
 
While these mount adapters can be found, such as on eBay, most are selling at a premium price. Alternatives include getting the drop-in adapter (remember that a clear fitler is optically required if no effects filter is installed) or a Vello Auto Lens Adapter for Canon EF/EF-S Lens to Canon RF-Mount Camera.
 
Canon Mount Adapter EF-EOS R: B&H | Adorama | Amazon
 
Canon Control Ring Mount Adapter EF-EOS R: B&H | Adorama | Amazon
 
Canon Drop-In Filter Mount Adapter EF-EOS R: B&H | Adorama | Amazon
 
Learn more about the Canon Mount Adapter EF-EOS R.

To qualify for CPS Silver, Gold, or Platinum membership (a very good program), the accumulated point value of the Canon gear in your kit must reach 10, 20, or 50 respectively. As of today, the following tables illustrate most of the point values available. Catching attention is that the R-series cameras and RF lenses appear to be worth fewer points than their DSLR counterparts.
 
The "Why?" question has been asked. Also, why is the RF 24-105mm F4-7.1 IS STM worth more points than the RF 24-105mm F4 L IS USM? I would not be surprised to see at least that anomally corrected. Oh wait, the 5D Mark II is worth more points than the 5D Mark III?

Camera	Points
EOS-1D X Mark III	10
EOS-1D X Mark II	10
EOS-1D X	10
EOS 5DS R	8
EOS 5D Mark IV	7
EOS 5DS	7
EOS 5D Mark II	6
EOS 6D	5
EOS 6D Mark II	5
EOS 7D	5
EOS 7D Mark II	5
EOS R	5
EOS R5	5
EOS Ra	5
EOS 5D Mark III	4
EOS 90D	4
EOS 80D	4
EOS R6	4
EOS RP	4
EOS 70D	3

Lens	Points
EF 800mm f/5.6L IS USM	18
EF 600mm f/4L IS III USM	18
EF 600mm f/4L IS II USM	18
EF 400mm f/2.8L IS III USM	18
EF 400mm f/2.8L IS II USM	18
EF 400mm f/2.8 L II USM	18
EF 500mm f/4L IS II USM	18
EF 500mm f/4.5 L USM	18
EF 400mm f/4 DO IS II USM	16
EF 200mm f/2L IS USM	16
EF 200-400mm f/4L IS USM	16
EF 300mm f/2.8L IS II USM	16
EF 100-400mm F4.5-5.6L IS II	12
EF 11-24mm F4L USM	12
EF 14mm f/2.8L II USM	1
EF 16-35mm f/2.8L III USM	12
EF 24-70mm f/2.8L II USM	12
EF 28-300mm f/3.5-5.6L IS USM	12
EF 70-200mm f/2.8L IS III USM	12
EF 70-200mm f/2.8L IS II USM	12
TS-E 17mm f/4L	12
EF 100mm f/2.8 Macro USM	8
EF 24mm f/2.8 IS USM	8
TS-E 135mm f/4L Macro	8
TS-E 90mm f/2.8L Macro	8
TS-E 50mm f/2.8L Macro	8
EF 100-400mm f/4.5-5.6L IS	8
EF 135mm f/2L USM	8
EF 16-35mm f/2.8L II USM	8
EF 16-35mm f/4L IS USM	8
EF 17-40mm f/4L USM	8
EF 180mm f/3.5L Macro USM	8
EF 200mm f/2.8L II USM	8
EF 24-105mm f/4L IS USM	8
EF 24-105mm f/4L IS II USM	8
EF 24-70mm f/4L IS USM	8
EF 24mm f/2.8 IS USM	8
EF 24mm f/1.4L II USM	8
EF 300mm f/4L IS USM	8
EF 35mm f/1.4L II USM	8
EF 50mm f/1.2L USM	8
EF 70-200mm f/2.8L USM	8
EF 70-200mm f/4L IS USM	8
EF 70-300mm f/4.5-5.6 DO IS	8
EF 70-200mm f/4L IS II USM	8
EF 70-300mm f/4-5.6L IS USM	8
EF 8-15mm f/4L Fisheye USM	8
EF 85mm f/1.2L II USM	8
EF 85mm f/1.4L IS USM	8
EF-S 10-22mm f/3.5-4.5 USM	8
EF-S 15-85mm f/3.5-5.6 IS USM	8
EF-S 17-55mm f/2.8 IS USM	8
TS-E 24mm f/3.5L II	8
TS-E 90mm f/2.8	8
RF 24-105mm F4-7.1 IS STM	6
RF 15-35mm F2.8L IS USM	6
RF 70-200mm F2.8 L IS USM	6
RF 24-70mm F2.8L IS USM	6
RF 28-70mm F2 L USM	6
RF 50mm F1.2 L USM	6
RF 85mm F1.2 L USM	6
EF 35mm f/1.4L USM	6
RF 600mm F11 IS STM	4
RF 85mm F2 Macro IS STM	4
EF 70-300mm f/4-5.6 IS II USM	4
RF 24-105mm F4 L IS USM	4
EF 28mm f/2.8 IS USM	4
EF-S 10-18mm f/4.5-5.6 IS STM	4
EF-S 18-135mm f/3.5-5.6 IS USM	4
EF 100mm f/2 USM	4
EF 20mm f/2.8 USM	4
EF 24-105mm f/3.5-5.6 IS STM	4
EF 28mm f/1.8 USM	4
EF 35mm f/2 IS USM	4
EF 50mm f/2.5 Compact Macro	4
EF 50mm f/1.4 USM	4
EF 70-200mm f/4L USM	4
EF 70-300mm f/4-5.6 IS USM	4
EF 85mm f/1.8 USM	4
EF-S 18-135mm f/3.5-5.6 IS	4
EF-S 18-135mm f/3.5-5.6 IS STM	4
EF-S 18-200mm f/3.5-5.6 IS	4
EF-S 60mm f/2.8 Macro USM	4
RF 35mm F1.8 Macro IS STM	3
EF 100mm f/2.8L Macro IS USM	2
EF-S 24mm f/2.8 STM	2
EF 100mm f/2.8 Macro USM	2
EF 40mm f/2.8 STM	2
EF 50mm f/1.8 II	1

(thanks David)

It was like Christmas in July when the Canon EOS R5 and Canon EOS R6 arrived in the same box. While these two cameras (and most others) come preconfigured for immediate and easy use, serious photographers need to set the camera up for the way they work. Following are the 42 steps I took to make an out-of-the-box R5 and R6 ready for use.
 

1. Open the box, find the battery, place it in the charger, and plug it in.
2. While the battery is charging, unpack the other items you want from the box.
3. Not required, but consider downloading and installing the latest Canon imaging software to get support for the latest camera model(s). Canon Digital Photo Pro (DPP), EOS Utility, and Lens Registration Utility are the options I manually include in the install.
4. Attach the neck strap.
5. Insert a memory card (we'll format the card in a later step).
6. Insert a charged battery, and power the camera on.
7. The date, time, and time zone setup screen will show at the first startup. Use the rear control dial and set button to update this information.
8. Set the camera's mode to Av, Tv, or M (some modes may provide only a subset of available menu options).
9. Scroll through all of the menu tabs to configure the camera as follows:
10. Shooting Menu, Tab 1: Image quality: Use the top control dial to set RAW to "RAW", and use the rear control dial to set JPEG to "-" (RAW image files provide the highest quality and are especially valuable for post-processing work)
11. Shooting Menu, Tab 3: White balance: AWB W (White) (I seldom use another white balance setting while shooting, though I often adjust white balance modestly during post-processing)
12. Shooting Menu, Tab 3: Picture Style: Neutral with Sharpness = 1 (Note: the low contrast "Neutral" picture style provides a histogram that best shows the available dynamic range. I usually change the Picture Style to "Standard" in DPP after capture.)
13. Shooting Menu, Tab 2: Lens Aberration Correction: All options "OFF" (I suggest that most photographers enable Chromatic Aberration correction)
14. Shooting Menu, Tab 4: High ISO speed NR: Off (or Low) (noise reduction is destructive to images details — I prefer to add noise reduction sparingly during post-processing)
15. Shooting Menu, Tab 6: Release shutter without card: OFF (only in a retail store would you want to press the shutter release without saving the image file)
16. Shooting Menu, Tab 7: Image review: Review duration: 4 sec. (new Viewfinder review option is disabled by default, speeding the shooting process)
17. Shooting Menu, Tab 7: Shooting info. disp.: Screen info. settings: Enable 1, 2, 3, and 4; edit screen 2 to show only: Basic shooting info and Electronic level; edit screen 3 to show only: Basic shooting info, Histogram, and Electronic level
18. Shooting Menu, Tab 7: Shooting info. disp.: VF info/toggle setting: Enable 1, 2, and 3 (default); edit screen 2 to show only: Electronic level; edit screen 3 to show only: Histogram and Electronic level
19. Shooting Menu, Tab 7: Shooting info. disp.: Grid display: 3x3 (sometimes the 3x3 grid is helpful for alignment checking while not complicating the view)
20. Shooting Menu, Tab 7: Shooting info. disp.: Histogram disp: RGB, Small (show the brightness levels of each channel separately and do not let the graph to take up much space in the display)
21. Shooting Menu, Tab 8: Disp performance: * select Smooth if shooting fast action and battery life is not a concern. Select Power saving otherwise.
22. AF Menu, Tab 1: Subject to detect: Select People, Animals, or No priority as makes sense for your current shooting scenario
23. AF Menu, Tab 1: Touch & drag AF settings: Touch & drag AF: Enable (allows the thumb drag across the rear LCD to quickly move the AF point while looking through the electronic viewfinder)
24. AF Menu, Tab 4: Orientation linked AF point: Separate AF pts: Pt only (instructs the camera to individually save the selected AF points for vertical and horizontal orientation)
25. AF Menu, Tab 5: RF lens MF focus ring sensitivity: Linked to rotation degree
26. Playback Menu, Tab 4: Magnify (apx): 10x (allows one button press during playback to zoom deeply into the image)
27. Playback Menu, Tab 5: Playback information display: 1, 2, and 3 only; change view 2 histogram to RGB
28. Playback Menu, Tab 5: Highlight Alert: Enable (causes overexposed pixels to blink during image review)
29. Tools Menu, Tab 1: Format card (always format a memory card in-camera — remember that all data on the card will be lost)
30. Tools Menu, Tab 1: Auto Rotate: On computer (images are properly rotated when viewed on a computer, but are always oriented to fill the LCD when viewed on the camera)
31. Tools Menu, Tab 2: Beep: Disable (probably no one wants to hear your camera's beep)
32. Tools Menu, Tab 5: Custom shooting mode (C1, C2, C3): Auto update set: Enable (see Configuring Custom Shooting Modes)
33. Tools Menu, Tab 5: Copyright information: enter as desired
34. Custom Functions Menu, Tab 1: Bracketing auto cancel: OFF (I want to control when AEB (Auto Exposure Bracketing) is enabled and disabled)
35. Custom Functions Menu, Tab 1: Bracketing sequence: -0+ (if images are captured in brightness sequence, they are easier to work with during post-processing. Capturing the darkest image first means quickly getting the first frame)
36. Custom Functions Menu, Tab 3: Customize buttons: Set: Magnify; Multicontrollers: Direct AF point selection; Multi-function button: Dial function and press info to set details: turn off ISO (it is readily available on the dial), turn off white balance, turn off flash exposure compensation, enable exposure compensation, enable AF method
37. Custom Functions Menu, Tab 3: Customize dials: Control ring: OFF (consider using this dial for a function logical for your needs)
38. Custom Functions Menu, Tab 4: Default erase option: [Erase] selected (less safe, but one less button press required to delete an image)
39. Custom Functions Menu, Tab 4: Retract lens on power off: OFF (prevents a carefully-selected focus distance from resetting when the camera auto powers off)
40. My Menu: Add My Menu 1; Register the following options: Expo.comp./AEB, IS (Image Stabilizer) mode, Expo. simulation, Subject to detect, Format card, Date/Time/Zone (great for monitoring the time); reorder menu items as desired
41. My Menu: Add My Menu 2; Register the following options: Anti-flicker shoot., Focus bracketing, Shutter mode, Disp. performance, Sensor cleaning, Number of bracketed shots, reorder menu items as desired
42. With a lens mounted and a subject focused on, adjust the viewfinder diopter until the scene is sharp

I make additional menu and other setting changes based on current shooting scenarios, but this list covers my initial camera setup process.
 
To copy this configuration means you intend to shoot similar to how I shoot — including in RAW-only format. While my setup works great for me, your best use of this list may be for tweaking your own setup.
 
If you can't remember your menu setup parameters, keeping an up-to-date list such as this one is a great idea. Anytime your camera is reset-to-factory state for some reason, such as when being serviced, you will be ready to restore your setup quickly while ensuring that you do not miss an important setting. If you purchase another same or similar camera, you will be able to set it up quickly.
 
More Information
 
Canon EOS R5 | Canon EOS R6
 
 
Order the Canon EOS R5 from:
 
Body: B&H | Adorama | Amazon USA | WEX
 
w/ RF 24-105 L: B&H | Adorama | Amazon USA
 
Rent the Canon EOS R5 from Lensrentals.
 
 
Order the Canon EOS R6 from:
 
Body: B&H | Adorama | Amazon USA | WEX
 
w/ RF 24-105 STM: B&H | Adorama | Amazon USA | WEX
 
w/ RF 24-105 L: B&H | Adorama | Amazon USA
 
Rent the Canon EOS R6 from Lensrentals.
 

For many, especially those already owning the impressive Canon EF 100-400mm f/4.5-5.6L IS II USM Lens, the narrow to-f/7.1 spec on the Canon RF 100-500mm F4.5-7.1 L IS USM Lens gave us pause. None of us was disappointed by the to-500mm part of the spec, but we wanted to know if the aperture opening size was being sacrificed at the 400mm aperture in order to keep this lens compact and light. Thanks to Drew MacCallum's (Canon USA) effort to answer this question for us, now we know.
 
What is the Canon RF 100-500mm F4.5-7.1 L IS USM Lens's maximum aperture opening at 400mm?
 
Answer 1: When the camera is set to 1/3-stop increments, the maximum 400mm aperture reported to the camera is rounded to f/6.3.
 
Answer 2: When the camera is set to 1/2-stop increments, the maximum 400mm aperture reported to the camera is rounded to f/5.6.
 
I know, you are now planning to change your R5 and R6 to use 1/2-stop increments. Don't bother as the difference is how the actual opening size is rounded (the true aperture is likely between these two numbers), likely holds for only a short range of focal lengths, and even if there was a 1/3-stop difference, the difference in noise made visible by an offsetting 1/3-stop ISO change will not matter to most.
 
The Canon RF 100-500mm F4.5-7.1 L IS USM Lens Review page is loaded with expectations. This lens should be awesome.
 
Order the Canon RF 100-500mm F4.5-7.1 L IS USM Lens at: B&H | Adorama | Amazon USA | WEX

Should I Get the Canon EOS R5, EOS R6, or EOS R? An Extensive Comparison The Canon EOS R, shown at the bottom-left in the lead image, came first. The R was Canon's first full-frame MILC (Mirrorless Interchangeable Lens Camera), and the start of the R-series. This model offered a relatively high resolution with a good feature set and solid performance at a reasonable price.
 
The Canon EOS RP, shown at the bottom-right, came next. A tiny model, the RP is positioned below the R and has a modestly lower resolution and noticeably lower price. The RP is an exceptional value.
 
This page exists because of the two models that came next, the Canon EOS R5 and Canon EOS R6, respectively shown at the top-left and top-right. These are both exceptionally-high-performing cameras positioned (and priced) above the EOS R.
 
Here are the differences between the Canon EOS R6, R5, and R.

Specifications	EOS R5	EOS R6	EOS R
Year Introduced	2020	2020	2018
Megapixels	45.0	20.1	30.4
Pixel Dimensions	8192 x 5464	5472 x 3648	6720 x 4480
Pixel Size	4.39µm	6.56µm	5.36µm
Diffraction-Limited Aperture	f/7.1	f/10.6	f/8.6
ISO Sensitivity	100-51200 to L:50, H1: 102400	100-102400 to L:50, H1: 204800	100-40000 to L:50, H1: 51200, H2: 102400
Image Processor	DIGIC X	DIGIC X	DIGIC 8
Dual Pixel RAW	Yes	No	Yes
Sensor Stabilization	5-Axis IBIS	5-Axis IBIS	No
Movies	8K RAW movie to 30 fps 4K movie at up to 120 fps 4K time-lapse mode Canon Log 1 / HDR PQ 10bit 4:2:2 internal recording All-I / IPB compression 10bit 4:2:2 uncompressed 4K 60p to external recorder	4K movie at up to 60 fps 4K time-lapse mode Full HD movies at 120 fps Canon Log 1 / HDR PQ 10bit 4:2:2 internal recording IPB compression	4K movie (cropped) at 25/24 fps Full HD movies at 60 fps HD at 120 fps Canon Log 1 10bit 4:2:2 uncompressed 4K to external recorder
Movie Modes	A+, P, Tv, Av, M, C1, C2, C3	A+, M	A+, P, Tv, Av, M, C1, C2, C3
AF Points	1,053 AF Areas covering approx. 100% of the frame 5,940 individually selectable AF points with 90% horizontal and 100% vertical coverage	1,053 AF Areas covering approx. 100% of the frame 6,072 individually selectable AF points with 90% horizontal and 100% vertical coverage	5,655 points with 88% horizontal and 100% vertical coverage
AF Working Range	EV -6 to 20	EV -6.5 to 20	EV -6 to 18
Subject Detection	Body, Face, Eye, Animal	Body, Face, Eye, Animal	Face, Eye
Focus Bracketing	Yes	Yes	No
EVF	0.5" (127mm) OLED color EVF, 5.76 Million dots	0.5" (127mm) OLED color EVF, 3.69 Million dots	0.5" (127mm) OLED color EVF, 3.69 Million dots
EVF FrameRate	120 fps	120 fps	60 fps
LCD Type	3.15" (8.01cm) Clear View LCD II, approx. 2.10 million dots	2.95" (7.50cm) Clear View LCD II, approx. 1.62 million dots	3.15" (8.01cm) Clear View LCD II, approx. 2.10 million dots
HEIF, HDR PQ	Yes	Yes	No
FPS	12 fps with Servo AF 20 fps with Electronic Shutter, and Servo AF	12 fps with Servo AF 20 fps with Electronic Shutter, and Servo AF	8 fps fixed AF 5 fps with Servo AF
Continuous Frames	350 JPEG, 180 RAW, or 260 CRAW	1,000+ JPEG, 240 RAW, or 1,000+ CRAW	100 JPEG, 47 RAW, 78 C-RAW
Shutter Lag	50ms		55ms
Card Slots	1x CFexpress 1x UHS-II SD	2x UHS-II SD	1x UHS-II SD
Control Dials	Main Dial Quick Control Dial 1 w/ Mode Button Quick Control Dial 2 AF Multi-controller (8-Way Joystick) Top panel display Front Function Button	Main Dial Quick Control Dial 1 w/ Mode Button Quick Control Dial 2 AF Multi-controller (8-Way Joystick) Front Function Button	Multi-function Bar Quick Control Dial Cross-Keys Top Panel Display
Dedicated Rate, Magnify, "Q" Buttons	Yes	Yes	No
Power Switch	Circular w/Lever	Circular w/Lever	Circular
Sound Memo	Yes	No	No
Wireless Features	5Ghz and 2.4Ghz Wi-Fi and Bluetooth Internal FTP optional Wireless transmitter WFT-R10	2.4Ghz Wi-Fi and Bluetooth Internal FTP	2.4Ghz Wi-Fi and Bluetooth FTP with WFT-E7 II Accessory
PC Terminal	Yes	No	via BG-E22
Computer Interface	USB 3.1 Gen 2	USB 3.1 Gen 2	USB 3.0
HDMI	HDMI micro Type D Simultaneous HDMI Out and Card Writing	HDMI micro Type D HDMI Out or Card Writing	HDMI mini Type C HDMI Out or Card Writing
Remote	N3 (Front)	E3 (Side)	E3 (Side)
Shutter Durability Rating	500,000	300,000	200,000
Supplied Battery	LP-E6NH	LP-E6NH	LP-E6N
Battery Life (CIPA)	LCD 490 shots EVF 320 shots	LCD 510 shots EVF 380 shots	370 shots
Grip Geometry	2.7" (68.5mm) Thick 2.7" (68.5mm) Thick at Bottom 1.55" (39.3mm) Finger Shelf	2.7" (68.5mm) Thick 2.7" (68.5mm) Thick at Bottom 1.65" (41.8mm) Finger Shelf	2.59" (65.7mm) Thick 2.54" (64.5mm) at Bottom 1.40" (35.5mm) Finger Shelf
Rattle	Noticeable when Powered Off	Noticeable when Powered Off	No
Dimensions Inches	5.45 x 3.84 x 3.46" (138 x 97.5 x 88.0mm)	5.45 x 3.84 x 3.48" (138 x 97.5 x 88.4mm)	5.35 x 3.87 x 3.32" (135.8 x 98.3 x 84.4mm)
CIPA Weight	26.0 oz (738g)	24.0 oz (680g)	23.3 oz (660g)
List Price	$3,899.00	$2,499.00	$1,799.00
Review	Canon EOS R5	Canon EOS R6	Canon EOS R
Purchase	BUY	BUY	BUY

 
Again, the original EOS R is a great value, offering good performance and relatively high resolution for a modest price. The 2-years-newer R5 and R6 are significantly more advanced cameras and considerably faster in a number of regards.
 
One clear differentiator between these cameras is the resolution they provide. It takes no more effort to press the shutter release on a 45 MP camera than it does on a 20 MP camera, and all things equal, the higher resolution image is more desirable. Use the additional resolution to output large, to downsample to even higher quality, or to crop with potentially high resolution remaining.
 
Not as apparent in the chart are that the R5 and R6 image sensors are significantly faster with less rolling shutter effect, and improved dynamic range (exposure latitude). Here are some dynamic range comparisons:
 
Canon EOS R5 vs. Canon EOS R
Canon EOS R5 vs. Canon EOS R6
Canon EOS R6 vs. Canon EOS R
 
The R6's larger pixel sites have a higher SNR (Signal to Noise Ratio), meaning less noise at the pixel level. However, for the comparison to be equal, the higher resolution images must be downsized to the R6 image's pixel dimensions, and with that action, oversampling advantages are realized. At equivalent final image sizes, the R5 and R6 noise levels are about the same.
 
The pixel-level noise performance is often reflected in the available ISO settings. The R6 has this advantage, and the R trails the R5. That said, you don't want to use any of these cameras (or those from any other manufacturer) at the highest ISO settings made available.
 
Another aspect that specs do not make clear is the relative sharpness of the images these cameras produce. The R produces softer images than many other Canon cameras when the images are processed using the same settings. Why? I've asked that question multiple times and have received no answers. However, that question has been resolved in the R5 and R6.
 
Here are some comparisons:
 
Canon EOS R5 vs. Canon EOS R
Canon EOS R5 vs. Canon EOS R6
Canon EOS R6 vs. Canon EOS R
 
The R images sharpen nicely with a higher sharpness setting ("2" looks nice). Are the R's RAW images de-tuned slightly, providing more latitude for the photographer to dial in the result they want? Does the R have a stronger low pass filter? Or, is there some other cause for the softer results?
 
The advantage of "DIGIC X" is not as easy to comprehend as, say, the number of megapixels on the imaging sensor, but this processor's extreme speed makes complex in-camera calculations possible, with improved AF performance and image quality being two advantages. The DIGIC X processor in the R5 and R6 is significantly more powerful than the DIGIC 8 processor in the R.
 
The R6 does not feature Canon Dual Pixel RAW capture where two signals are captured for each pixel. Portrait Relighting is featured on the R5.
 
The IBIS (In Body Image Stabilization) is a tremendous advantage held by the R5 and R6 models. These two cameras effectively upgrade all of the lenses in your kit, with better image quality being realized. IBIS is a huge advantage for video, decreasing the need for bulky and expensive gimbals in certain situations. With IBIS, the R5 and R6 have a noticeable rattle when powered off (don't worry about this).
 
The R5's 8K uncropped video capability (including RAW) is awesome, and the R6 enjoys a strong movie capability advantage over the R, including uncropped 4K vs. cropped 4K (1.75x). The R5 and R6 provide Dual Pixel CMOS AF II tracking with every resolution/framerate, but the R does not get AF tracking with high framerate (720p) capture. An R5 advantage is that it goes to 120 fps in 4K while the R6 has FHD 120 fps. The R5 does not have FHD 120 fps recording available.
 
The R6 has only two movie modes, and the R5 has an improved movie setting menu option.
 
All three of these cameras can autofocus in crazy-low light levels, but the R6 has a slight advantage. The R5 and R6 have some advantage over the R when focusing in very bright light levels.
 
The EOS R's Dual Pixel CMOS AF system, including eye and face detection, performs excellently, but the R5 and R6's Dual Pixel CMOS II AF system takes subject detection and tracking capabilities to another level, including animal tracking. The R5 and R6 AF systems handle challenging circumstances amazingly well.
 
The R5 and R6 have a focus bracketing feature missing on the R (this feature first arrived on the RP).
 
The R5's considerably higher resolution EVF is a significant advantage, as is its higher resolution rear LCD. The R5 and R6 have a much faster refresh rate available, helping you follow a moving subject. Especially notable is that the R5 and R6 have less EVF blackout, dramatically helping you track a moving subject. The diopter dial has moved to the right side of the viewfinder on the R5 and R6 where it is easier to access. The R5 and R6 have a modified eyecup shape (all are non-removable).
 
Also aiding in capturing a perfect action shot is the R5 and R6's extremely fast frame rates, rates that leave the R far behind.
 
For some, having dual memory card slots is a big advantage for the R5 and R6 over the R. Differentiating between the R5 and R6 is that one of the R5's slots is the faster CFexpress format. For those not needing the speed of CFexpress, the R6's dual card slots sharing the same UHS-II SD format could be an advantage.
 
The additional controls and buttons, including a joystick replacing the R's Multi-Function Bar and ISO adjustment instantly available on the top quick control dial, along with the revised power switch design on the R5 and R6 make these cameras easier to use than the R. The EOS R and R5 have top LCDs while the R6 does not. The R5 and R6's top-right three buttons on the back have a horizontal layout to provide space for the larger dual memory card slot door — especially the AF-ON button is easier to reach in the updated layout. The R5 and R6 have an additional configurable button (depth of field preview by default) on the front. If you need the sound memo feature or a PC terminal, the R5 is your only choice.
 

 
The R5 has the most advanced built-in Wi-Fi and also has the most advanced wireless file transmitter available. The R6 has more advanced built-in Wi-Fi than the R, but it does not have a wireless file transmitter option.
 
The R5 and R6 have faster USB ports than the R, and the R5 and R6 have HDMI micro Type D ports vs. the R's HDMI mini Type C port. The R5 has an N3-type remote release port vs. E3 in the R6 and R. The R5 has a more durable shutter, rated at 500,000 actuations vs. 300,000 and 200,000.
 
While the R5 and R6 arrive with a higher capacity battery, that battery is compatible with the EOS R and its charger, meaning this difference is easy to equalize. That 14% higher capacity battery helps the battery life ratings with the R5 and R6 showing big improvements (when using the LCD). Remember that experienced battery life is often twice the rated value, and far higher when capturing high-speed bursts of images. These three cameras are essentially the same size and weight.
 
The EOS R5 and R6 have an enhanced grip geometry, featuring a larger shelf above the fingers and a thicker grip base, both making the newer models noticeably easier to hold onto.
 
For a significant percentage of photographers, the primary decision factor between these cameras will be the price. A safe recommendation is to buy the highest-priced model you can afford. The EOS R is a bargain. The EOS R6 is a considerably faster and better camera, and the EOS R5 is the flagship model, unsurpassed in the Canon lineup. If your funds can take you to this level, the R5 is the camera you want.
 
Simplifying the R5 vs. R6 comparison:
 
R6 Advantages Over the R5

• ISO 100-102400, Expandable to 204800 vs. ISO 100-51200, Expandable to 102400
• Greater AF Working Range — EV -6.5 to 20 vs. EV -6.0 to 20
• Slightly More Selectable AF Points — 6,072 vs. 5,940
• FHD at 120 fps vs. 60 fps (the R5 has 120 fps 4K)
• Lower Price

The R6 advantages list is a short one, and most advantages are very slight. However, the "Lower Price" bullet is a powerful one.
 
Did I miss any differences? Let me know! That the R5 has a "BE CAREFUL HOT" warning label inside the memory card door does not count. The R6 lock button being raised modestly might count a tiny amount.
 
Use the site's tools to create specific comparisons:
 
Specifications Comparisons
 
Canon EOS R5 Compared to the Canon EOS R6
Canon EOS R5 Compared to the Canon EOS R
Canon EOS R5 Compared to the Canon EOS 5Ds and 5Ds R
Canon EOS R5 Compared to the Canon EOS 5D Mark IV
 
Canon EOS R6 Compared to the Canon EOS R
Canon EOS R6 Compared to the Canon EOS-1D X Mark III
 
Not all differences show up in the specifications, but the visual comparison tool can fill in many of the missing differences:
 
Visual Comparisons
 
Canon EOS R5 Visual Comparison with the Canon EOS R6
Canon EOS R5 Visual Comparison with the Canon EOS R
Canon EOS R5 Visual Comparison with the Canon EOS 5Ds and 5Ds R
Canon EOS R5 Visual Comparison with the Canon EOS 5D Mark IV
 
Canon EOS R6 Visual Comparison with the Canon EOS R
Canon EOS R6 Visual Comparison with the Canon EOS-1D X Mark III
 
Review Pages
 
Note that the R5 and R6 review pages continue to be updated with additional information.
 
Canon EOS R5 | Canon EOS R6 | Canon EOS R
 
Order Now
 
Canon EOS R5 | Canon EOS R6 | Canon EOS R
 
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While we anxiously await this camera to hit the streets, the Canon EOS R5 Review page is loaded with information.
 
Now we know — the details for the long awaited R5 are here, including the answer to the big question: what resolution will the R5's Canon CMOS imaging sensor have?
 
I expect the R5 to become my primary camera model.
 
Summary of Canon EOS R5 Features
 

• New 45 Megapixel Full-Frame Canon CMOS Imaging Sensor with High-Speed Read-Out; Incredible Image Quality and Dynamic Range Promised
• DIGIC X Image Processor
• Stills: ISO 100-51200, Expandable down to 50, up to 102400
• Movies: ISO 100-25600, Expandable to 51200
• Hi Speed Continuous Shooting at up to 12 fps with Mechanical Shutter and 20 fps with Electronic (Silent) Shutter
• Dual Pixel CMOS AF II with 1,053 AF Areas Covering Approx. 100% of the Frame, 5,940 Manually Selectable Covering Approx. 90% x 100% of the Frame (f/22 Capable)
• Subject Tracking People (Eye, Head, and Face) and Animals (Eye, Head, and Body for Cats, Dogs, and Birds) using Deep Learning Technology¹
• AF Working Range of EV -6.0 to 20
• 8K RAW, 8K DCI/UHD to 30 fps, 4K DCI/UHD to 120 fps, 10-bit 4:2:2 with Canon LOG or HDR PQ, Internal Recording in All Formats, with AF
• In-Body Image Stabilizer (IBIS) Provides up to 8-Stops of Shake Correction
• Dual Card Slots for CFexpress (Type B) and UHS-II SD Memory Cards
• Built-in 0.5" 5.76 Million Dots OLED Electronic Viewfinder with 120 fps Refresh Rate²
• 3" Vari-Angle LCD Touchscreen and Top LCD
• 2.4/5Ghz Built-in Wi-Fi, Bluetooth Technology
• 500,000 Actuation Shutter Durability Rating
• Enhanced Operating Controls
• Optional Canon BG-R10 Battery Grip, Canon WFT-R10A
• Impressive Durability
• RF Lens Mount, Compatible with EF/EF-S/TS-E/MP-E Lenses with Adapter

Get in front of the line: Order the Canon EOS R5 at B&H | Adorama | Amazon USA | WEX
 
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While we anxiously await arrival of this camera, the Canon EOS R6 Review page is loaded with information.
 
The 6-series has arrived in the R-series!
 
Summary of Canon EOS R6 Features
 

• New 20 Megapixel Full-Frame Canon CMOS Imaging Sensor
• DIGIC X Image Processor
• ISO 100-102400, Expandable to 204800
• Hi Speed Continuous Shooting at up to 12 fps with Mechanical Shutter and 20 fps with Electronic (Silent) Shutter
• Dual Pixel CMOS AF II with 1,053 AF Areas Covering Approx. 100% of the Frame, 6,072 Manually Selectable Covering Approx. 90% x 100% of the Frame (f/22 Capable)
• Subject Tracking People (Eye, Head, and Face) and Animals (Eye, Head, and Body for Cats, Dogs, and Birds) using Deep Learning Technology¹
• AF Working Range of EV -6.5 to 20
• 4K to 60 fps, 1080p up to 120 fps, 10-bit 4:2:2 with Canon LOG or HDR PQ, Internal Recording in All Formats, with AF
• In-Body Image Stabilizer Provides up to 8-Stops of Shake Correction
• Dual Card UHS-II SD Memory Card Slots
• Built-in 0.5" 3.69 Million Dots OLED Electronic Viewfinder with 120 fps Refresh Rate²
• 3" Vari-Angle LCD Touchscreen
• Built-in WiFi, Bluetooth Technology
• 300,000 Actuation Shutter Durability Rating
• Enhanced Operating Controls
• Optional Canon BG-R10 Battery Grip
• Impressive Durability
• RF Lens Mount, Compatible with EF/EF-S/TS-E/MP-E Lenses with Adapter

Get in front of the line: Order the Canon EOS R6 at B&H | Adorama | Amazon USA | WEX
 
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The Canon RF 100-500mm F4.5-7.1 L IS USM Lens Review page is filled with information about this exciting new lens.
 
The Canon EF 100-400mm f/4.5-5.6L IS II USM Lens is an excellent lens, one of my favorites. Expect the RF 100-500 to be even better.
 
Order the Canon RF 100-500mm F4.5-7.1 L IS USM Lens at B&H | Adorama | Amazon USA | WEX
 
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Preorder the Sony FE 12-24mm f/2.8 GM Lens at B&H.
 
The manufacturer specifications for this relatively compact new lens are loaded on the site. Check out these comparisons, paying attention to the size and weight:
 
Sony FE 12-24mm f/2.8 GM Lens Compared to Sony FE 12-24mm f/4 G Lens
 
Sony FE 12-24mm f/2.8 GM Lens Compared to Sony FE 16-35mm f/2.8 GM Lens
 
Sony FE 12-24mm f/2.8 GM Lens Compared to Sigma 14-24mm f/2.8 DG HSM Art Lens
 
Sony FE 12-24mm f/2.8 GM Lens Compared to Canon EF 11-24mm f/4L USM Lens
 
Though its price is high, the Sony FE 12-24mm f/2.8 GM Lens will attract attention.

Just posted: Tamron 70-180mm f/2.8 Di III VXD Lens Review.
 
Excellent lens. Great value.
 
The Tamron 70-180mm f/2.8 Di III VXD Lens is in stock at B&H | Adorama | Amazon USA | WEX
 
Rent the Tamron 70-180mm f/2.8 Di III VXD Lens from Lensrentals.
 
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Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images have been added to the Tamron 70-180mm f/2.8 Di III VXD Lens Review page.
 
You are going to like these results.
 
Tamron 70-180mm f/2.8 Di III VXD Lens compared to Sony FE 70-200mm f/2.8 GM OSS Lens
 
Tamron 70-180mm f/2.8 Di III VXD Lens compared to Sony FE 70-200mm f/4 G OSS Lens
 
Tamron 70-180mm f/2.8 Di III VXD Lens compared to Tamron 70-200mm f/2.8 Di VC USD G2 Lens
 
Expect the full review to be completed very soon.
 
The Tamron 70-180mm f/2.8 Di III VXD Lens is in stock at B&H | Adorama | Amazon USA | WEX
 
Rent the Tamron 70-180mm f/2.8 Di III VXD Lens from Lensrentals.
 
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Just posted: Canon EOS Rebel T8i / 850D Review.
 
The T8i takes the flagship Rebel model to a new level.
 
The Canon EOS Rebel T8i / 850D is in stock at B&H (on sale) | Adorama | WEX (preorders)
 
Rent the Canon EOS Rebel T8i / 850D from Lensrentals.
 
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Just posted: Canon RF 24-105mm F4-7.1 IS STM Lens Review.
 
This is a good lens for the price.
 
The Canon RF 24-105mm F4-7.1 IS STM Lens is in stock at B&H | Adorama | Amazon USA | WEX
 
Rent the Canon RF 24-105mm F4-7.1 IS STM Lens from Lensrentals.
 
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Noise test results have been added to the Canon EOS Rebel T8i / 850D Review page.
 
Solid performance with no surprises here.
 
BTW, the new (for the Rebel / ***D series) rear control dial is great.
 
The Canon EOS Rebel T8i / 850D is in stock at B&H | Adorama | Amazon USA | WEX
 
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Image quality, flare, and distortion test results along with specs, measurements, and standard product images have been added to the Canon RF 24-105mm F4-7.1 IS STM Lens Review page.
 
Note that distortion correction is forced by the camera and DPP software when using this lens. Here are some comparisons:
 
Canon RF 24-105mm IS STM Lens vs. Canon RF 24-105mm F4 L IS USM Lens
 
Canon RF 24-105mm IS STM Lens vs. Canon RF 24-240mm F4-6.3 IS USM Lens
 
Canon RF 24-105mm IS STM Lens vs. Canon EF 24-105mm f/3.5-5.6 IS STM Lens (use discernment when comparing using these different resolution test cameras)
 
Canon RF 24-105mm IS STM Lens vs. Canon RF 24-70mm F2.8 L IS USM Lens
 
I expect to have the full Canon RF 24-105mm F4-7.1 IS STM Lens review completed very soon.
 
The Canon RF 24-105mm F4-7.1 IS STM Lens is in stock at B&H | Adorama | Amazon USA | WEX
 
Rent the Canon RF 24-105mm F4-7.1 IS STM Lens from Lensrentals.
 
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With a Canon EOS Rebel T8i in hand, it is time to set up the camera for use. Following are the 33 steps I took to make an out-of-the-box T8i ready for use.
 

1. Open the box, find the battery, place it in the charger and plug it in.
2. While the battery is charging, unpack the other items you want from the box.
3. Download and install the Canon Solution Disk software on your computer, gaining support for the latest camera(s). Canon Digital Photo Pro (DPP) and EOS Utility are the options I manually include in the install.
4. Attach the neck strap.
5. Insert the battery (after charging completes) and power the camera on.
6. Insert a memory card.
7. Turn on the camera.
8. Adjust the date and time (automatically prompted upon turning the camera on the first time).
9. Set the camera's mode to Av, Tv or M (some modes provide only a small subset of available menu options).
10. Scroll through all of the menu tabs to configure the camera as follows:
11. Shooting settings, Tab 1: Image quality: Use top dial to set RAW to "RAW" and Cross Keys to set JPEG to "-" (RAW image files provide the highest quality and are especially valuable for post processing work)
12. Shooting settings, Tab 1: Image review: 4 sec. (or sometimes off to increase shooting speed in the field)
13. Shooting settings, Tab 1: Release shutter without card: Disable (only in a retail store do you want to press the shutter release without saving the image file, leaving this option enabled will burn you someday)
14. Shooting settings, Tab 1: Lens Aberration Correction: All options "OFF" (though Chromatic Aberration correction is a good option to leave enabled for most)
15. Shooting settings, Tab 3: White balance: AWB W (White) (I seldom use another white balance setting while shooting, though I often adjust modestly during post processing)
16. Shooting settings, Tab 3: Picture Style: Neutral with Strength = 1 (Note: the low contrast "Neutral" picture style provides a histogram on the back of the camera that most-accurately shows me blown highlights and blocked shadows on the camera LCD. I usually change the Picture Style to "Standard" in DPP after capture.)
17. Shooting settings, Tab 4: High ISO speed NR: Off (or Low) (noise reduction is destructive to images details - I prefer to add noise reduction sparingly during post processing)
18. Playback settings, Tab 4: Histogram disp: RGB (I want to see the graph for individual color channels)
19. Function settings, Tab 1: Auto Rotate: On computer (only) (images are properly rotated when viewed on a computer, but are always oriented to fill the LCD when viewed on the camera)
20. Function settings, Tab 1: Format card (always format memory cards in-camera — after all contained images are stored elsewhere of course)
21. Function settings, Tab 2: Date/Time/Zone: make correct for your location (if not done at startup)
22. Function settings, Tab 3: Beep: Disable (no one wants to hear your camera constantly beeping)
23. Function settings, Tab 4: Viewfinder display: Show all
24. Function settings, Tab 5: Custom Functions settings(C.Fn): C.Fn I: Exposure: 2: ISO expansion: On (required for setting ISO to 51200)
25. Function settings, Tab 5: Custom Functions settings(C.Fn): C.Fn I: Exposure: 5: Exposure comp. auto cancel: Disable (I'll decide when exposure compensation should be canceled)
26. Function settings, Tab 5: Custom Functions settings(C.Fn): C.Fn III: Operation/Others: 14: Retract lens on power off (avoids having a carefully-selected focus distance reset when camera auto powers off)
27. Function settings, Tab 5: Copyright information: enter as desired
28. Display level settings, Tab 1: Shooting screen: Standard (Guided is useful for beginners)
29. Display level settings, Tab 1: Menu displaye: Standard (Guided is useful for beginners)
30. Display level settings, Tab 1: Mode guide: Disable (Enabled is useful for beginners)
31. Display level settings, Tab 1: Feature guide: Disable (Enabled is useful for beginners)
32. My Menu: Add the first tab; Register the following options for Tab 1: Format card, Mirror lockup, Date/Time/Zone (great for monitoring what time it is), Sensor cleaning (nothing in my My Menu is found on the Quick Control display as those functions are already quickly accessed)
33. With a lens mounted and a subject focused on, adjust the viewfinder diopter until the scene is sharp

I of course make additional menu and other setting changes based on current shooting scenarios, but this list covers my initial camera setup process.
 
To copy this configuration would mean that you intend to shoot similar to how I shoot – including shooting in RAW-only format. While my setup works great for me, your best use of this list may be for tweaking your own setup.
 
If you can't remember your own menu setup parameters, keeping an up-to-date list such as this one is a good idea. Anytime your camera is reset-to-factory state for some reason, such as when being serviced, you will be ready to restore your setup quickly while ensuring that you do not miss an important setting. If you purchase another same or similar camera, you will be able to quickly set it up.
 
More Information
 
Canon EOS Rebel T8i
 
The Canon EOS Rebel T8i is in stock at B&H | Adorama | Amazon | WEX.
 
Rent the Canon EOS Rebel T8i from Lensrentals.

Just posted: Wimberley WH-200-S Sidemount Head Review.
 
The WH-200-S is an excellent choice for big lens needs.
 
The Wimberley WH-200-S Sidemount Head is available at B&H | Adorama | Amazon USA
 
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Robus RC-8860 Vantage Series 5 Carbon Fiber Tripod Review.
 
Want a really strong, high-quality tripod for a reasonable price? The RC-8860 might have your name on it.
 
The Robus RC-8860 Vantage Series 5 Carbon Fiber Tripod is in stock at B&H and Amazon USA
 
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Just posted: Sony FE 2.0x Teleconverter Review.
 
Sometimes, using a 2x is the right option.
 
The Sony FE 2.0x Teleconverter is in stock at B&H | Adorama | Amazon USA | WEX
 
Rent the Sony FE 2.0x Teleconverter from Lensrentals.
 
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Just posted: Sony FE 1.4x Teleconverter Review.
 
This is a high-performing compact teleconverter that makes a great addition to a kit that includes one of the compatible Sony telephoto lenses.
 
The Sony FE 1.4x Teleconverter is in stock at B&H | Adorama | Amazon USA | WEX
 
Rent the Sony FE 1.4x Teleconverter from Lensrentals.
 
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Just posted: Robus RCM-439 Carbon Fiber Monopod Review.
 
No-brainer. Just get one.
 
The Robus RCM-439 Carbon Fiber Monopod is in stock at B&H and Amazon USA.
 
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Just posted: Sony FE 70-300mm f/4.5-5.6 G OSS Lens Review.
 
This is a useful lens to have available in the kit.
 
The Sony FE 70-300mm f/4.5-5.6 G OSS Lens is in stock at B&H (new or used) | Adorama | Amazon USA | WEX
 
Rent the Sony FE 70-300mm f/4.5-5.6 G OSS Lens from Lensrentals.
 
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Let's speculate:
 
In the Canon EOS 5D Mark IV review, I mentioned:
 
"What Canon has not talked about is the potential for increased dynamic range being available from Dual Pixel RAW files. It seems that, if partial exposures are being captured by the Dual Pixel RAW system, the potential exists for very significant highlight recovery beyond what is already available."
 
Did you notice that the Canon EOS C300 Mark III Cinema Camera "... features a new Dual Gain Output (DGO) sensor ..."? In the press release, Canon goes on to explain the Dual Pixel CMOS sensor:
 
"The newly developed 4K Super 35mm DGO imaging system captures high dynamic range content by reading out each pixel through two separate gains. One gain prioritizes saturation in highlight areas while the other suppresses noise in the shadows. The result is an image with up to 16+ stops of dynamic range, clean rich shadows and vibrant highlights in up to 4K/60p."
 
Very intriguing.
 

 
At 11:46 in Canon's virtual press conference, Paul Hawxhurst, senior professional market specialist, talks about the Dual Gain Output imaging sensor:
 
"... that expands the dynamic range to over 16 stops. How does it do that? Each pixel on the sensor is split into two different diodes. Those diodes are always taking two frames of the exact same image. Now for Dual Pixel autofocus, it's using those two frames for phase detection. However, the Canon engineers realized that they can use those two different frames and value them at different gains in order to expand the dynamic range. And so what is happening here is that off of diode A you have one image that is low gain and low noise. Off of diode B you're getting a frame that is of higher gain, but it satisfies the pixel's need for saturation. So, these two separate frames that are of the same image of the exact same point in time but at two separate gains are combined and then dumped out of the sensor. Because these frames are of the exact same point in time and of the exact same image, there is absolutely zero temporal artifacting happening in this. What the Dual Gain Output sensor gives is a lower noise floor and hence a much wider usable latitude. Now, this is especially true in the shadow region."
 
Again, that the Canon EOS R5 will have a Canon Dual Gain Output (DGO) Sensor is pure speculation, but it certainly seems viable – and desirable.

Just posted: Sony FE 85mm f/1.8 Lens Review.
 
This is a very popular lens and a great value.
 
The Sony FE 85mm f/1.8 Lens is in stock at B&H | Adorama | Amazon USA | WEX
 
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Just posted: Sony FE 12-24mm f/4 G Lens Review.
 
This is a very fun lens.
 
The Sony FE 12-24mm f/4 G Lens is in stock at B&H | Adorama | Amazon USA | Henry's | WEX
 
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Just posted: Sony FE 24-70mm f/4 ZA OSS Lens Review.
 
Find out what I think of this general-purpose lens ideally-sized for Sony's full frame mirrorless cameras.
 
The Sony FE 24-70mm f/4 ZA OSS Lens is in stock at B&H | Adorama | Amazon USA | Henry's | WEX
 
Also check out the used Sony FE 24-70mm f/4 ZA OSS Lens at B&H.
 
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Image quality test results from the Canon EOS 7D Mark II have been added to the Canon EF 500mm f/4L IS II USM Lens Review.
 
Awesome lens. Create some comparisons.
 
The Canon EF 500mm f/4L IS II USM Lens is in stock at B&H | Adorama | Amazon USA | Henry's | WEX
 
Save up to over $2,000: check out the used EF 500mm lenses in stock at B&H.
 
Rent the Canon EF 500mm f/4L IS II USM Lens from Lensrentals.
 
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Just posted: Oben ASPTA-20 Smartphone Tripod Adapter Review.
 
This is a really handy accessory and a great value.
 
The Oben ASPTA-20 Smartphone Tripod Adapter is in stock at B&H
 
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Just posted: Sony FE 28-70mm f/3.5-5.6 OSS Lens Review.
 
How does Sony's inexpensive general-purpose zoom lens perform?
 
The Sony FE 28-70mm f/3.5-5.6 OSS Lens is in stock at B&H | Adorama | Amazon USA | WEX
 
For a much lower price, buy a used model at B&H.
 
Rent the Sony FE 28-70mm f/3.5-5.6 OSS Lens from Lensrentals.
 
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Sony FE 24-240mm f/3.5-6.3 OSS Lens Review.
 
Find out what I think of this super-zoom lens.
 
The Sony FE 24-240mm f/3.5-6.3 OSS Lens is in stock at B&H | Adorama | Amazon USA | Henry's | WEX
 
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Image quality test results from the Canon EOS 5Ds R have been added to the Canon EF 500mm f/4L IS II USM Lens Review.
 
Awesome lens. Create some comparisons.
 
The Canon EF 500mm f/4L IS II USM Lens is in stock at B&H | Adorama | Amazon USA | Henry's | WEX
 
Save up to over $2,000: check out the used EF 500mm lenses in stock at B&H.
 
Rent the Canon EF 500mm f/4L IS II USM Lens from Lensrentals.
 
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Just posted: Sony FE 20mm f/1.8 G Lens Review.
 
You are going to want this lens.
 
The Sony FE 20mm f/1.8 G Lens is in stock or available for preorder at B&H | Adorama | Amazon USA | Henry's | WEX
 
Rent the Sony FE 20mm f/1.8 G Lens from Lensrentals.
 
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Just posted: Really Right Stuff Tripod Bag Review.
 
This is a quick review of an excellent tripod accessory.
 
Available in a range of sizes, the Really Right Stuff Tripod Bag is in stock at B&H.
 
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Image quality test results have been added to the Sony FE 20mm f/1.8 G Lens page.
 
You are going to like these results. The full review for this lens should be available soon.
 
The Sony FE 20mm f/1.8 G Lens is in stock (or available for order) at B&H | Adorama | Amazon USA | Henry's | WEX
 
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Just posted: Really Right Stuff TQC-14/TFC-14 Mk2 Tripod Review.
 
This tripod is very impressive, outperforming many significantly larger, heavier models.
 
The Really Right Stuff TQC-14/TFC-14 Mk2 Tripod is in stock at B&H
 
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Just posted: Tamron 20mm f/2.8 Di III OSD M1:2 Lens Review.
 
A great value like its siblings.
 
The Tamron 20mm f/2.8 Di III OSD Lens is in stock at B&H | Adorama | Amazon USA | WEX
 
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Just posted: Canon EOS M200 Review.
 
The M200 is a lot of camera for its size, weight, and price.
 
The Canon EOS M200 is in stock at B&H | Adorama | Amazon USA (check out the "Renewed" option) | WEX
 
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Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images have been added to the Tamron 20mm f/2.8 Di III OSD M1:2 Lens page.
 
I'll get you started with comparisons:
 
Tamron 20mm f/2.8 Di III OSD M1:2 Lens compared to the Tamron 24mm f/2.8 Di III OSD M1:2 Lens
 
The Tamron 20mm f/2.8 Di III OSD Lens is in stock at B&H | Adorama | Amazon USA | WEX
 
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